Jazz on lìričnìj hvyli

bereznâ 16, 2016 Zgìdno w publìkacìêû http://tyzhden.ua/PressReleases/160848

Jazz on lìričnìj hvyli

Čergovij Mìžnarodnogo Jazz concert subscription âkij neŝodavno vìdznačiv your 10-summer ûvìlej, vìdbuvsâ 7 bereznâ on the new jazz majdančiku-klubì Sentrum.

Tsofirst has producer HM I participant all represented koncertìv Arkadìj Ovruc′kij znovu presenting zbìrnu American-ìzraïl′s′ko-ukraïns′ku command in skladì: Allan Garrìs-vocal, Lrc Dìn-tenor saxophone, Oleksìj Pêtuhov-klavìšnì, Arkadìj Ovruc′kij-bass.

For Allan Garrìsa TSE vže other vìzit to Ukraine. First vìdbuvsâ bliz′ko two rokìv.

Allan Garrìs (Harris Allan)-čudovij predstavnik najkraŝih amerikans′kogo spìvu jazz family traditions. Džazovì critics often Yogo porìvnûût′ w vidatnimi, Jak poperednikami such No Kìng Ta Devìs Semmì Cole-mol. Spravdì, він vmìê buti lìričnim, yak as well first, I as well dinamìčnim, drajvovim, yak inanimate. Together, also Garrìs nagaduê Cole navìt′ timbre of voice. I do not vipadkovo two al′bomi SAMA prisvâtoû º Yogo Cole. I lìrizm strimanìšij Garrìsa Hoca I don't pìdneseno-taqiy romantičnij not sâgaê proniklivostì Cole, ALE take strimanostì in є vìdčuttâ і svoêrìdnìst′ pevna style. At Yogo spìvì can počuti th bagat′oh vìdomih ìnših added vikonavcìv.

ALE, mabut′, najvažlivìšoû risoû Garrìsa € unìversal′nìst′, Yogo tobto він pracûê practical clothes in styles. Common heartburnscrap in tvorčomu 10 dorobku Yogo sol′nih al′bomìv. Garrìs spìvaê kantrì, chudovo soul, blues, tobto avtentičnì Vidi amerikans′koï folk music. But levovu častku repertoire džazovì skladaût′ Yogo standards zdebìl′šogo Dobie svìngu. (Not vipadkovo first album spìvaka so I nazivaêt′sâ Setting the Standard) that Love Came (prisvâta Bìllì Stejhornu, viznačnomu composer aranžuval′niku bìg band 7th Duke Ellìngtona). Garrìs repompously trimaêt′sâ so krunerìv zvanih maneri, tobto spìvakìv lìriko-romantic svìngu. ALE vìdčuvaêt′sâ, Scho muzikantovì zatìsno zich in part, also the hour in El vdaêt′sâ zahoplennì he to sketu, viâvlâûči čudovì quality vokalìsta-ìmprovìzatora.

Zreštoû, Yogo ostannìj album Black Bar Jukebox (2015) poêdnuê little džazovì svìngu від crazy today ND soul to rhythm-and-blues, everybody in them spìvak počuvaêt′sâ odnakovo впевнено.

Zvìsno, one koncertì in Kiêvì nemožlivo prodemonstruvati all your talent storoni. Identity Garrìs obmeživsâ zdebìl′šogo ìpostassû svìngovogo spìvaka viâvivši in povnìj, mìrì, vikonuvav shil′nostì lìričnì Shevchenko samì Lachey džazovì standards: Autumn Leaves, Smile, On the Street Where You Live, When I Fall in Love, My Funny Valentine, Unforgettable. I do not wonder, AJE 1959 vìdbuvalisâ 8 naperedodnì th bereznâ. Utìm, one time Garrìs prodemonstruvav quality steep bluesman-pričomu і, і spìvak yak yak ìnstrumentalìst (Garrìs volodìê і gìtaroû, chudovo zokrema, blûzovimi prijomami Gris).

ALE on koncertì you can vìdčuti those Scho lišaêt′sâ for benchmarks zapisìv and SAMA, artistry I rozkutìst′ scenìčnoï povedìnki. Garrìsu in povnìj mìrì pritamanne vmìnnâ stvoriti nevimušenostì ŝirogo, spìlkuvannâ atmosphere w publìkoû.

Він zalûbki talks from Hall I yak kažut′ that lìze not in kišenû for word in vpevnenostì off my demonstruûči, in your magìï glibokogo, warm voice, ALE zradžuê muzičnogo vìdčuttû no Jesus style.

Važlivij barcode to portrait muzikanta, Scho vìdkrivaêt′sâ in only spìlkuvannì: Garrìs glibokim znavcem ye ìstorìï jazz, pričomu SAMA malovìdomih storìnok times, zokrema, važlivoï "êvrejs′kih muzikantìv u formuvannì jazz. On Qiu theme he can dovgo, navodâči govoriti bahato malovìdomih faktìv. Vreštì, Jak zauvažuê bìl′š, he nìž half his repertoire він zobov'âzanij SAMA êvrejs′kim composers.

Mariupol, Džazovij vže predstavlâv neodnorazovo Subscription from fans of jazz predstavnikìv ìzraïl′s′koï džazovoï school. You can prigadati pìanìstìv Roy Asaf th Tomer Bar, Robert saksofonìstìv Ančìpolovs′kogo Ta gìtaristìv Ronì, Asaf Onera Ben Góra th Elnatana, Shahar drummer Ofrì Nehemìû.

What, є ŝos′ gliboko simvolìčne in fact, Allan vdruge Garrìs Scho notion in the same Kiêvì u skladì mìžnarodnogo draft time w ìzraïl′s′kimi muzikantami. Two rocky fact Yogo partners Boule pìanìst Roy Assaf і Ofrì Nehemìâ muzikanti, drummer, Scho zavoûvali reputacìû at mìžnarodnìj scenì.

Tsofirst time Garrìsa vistupiv partner ìzraïl′s′kij saksofonìst Lrc Dìn molody. What, Nowe znajomstvo I Nowe ìm'â, Jake now trace dodati to vkazanogo perelìku.

Lrc Dìn (Dean Tsur) znahodit′sâ in počatku svoêï profesìjnoï kar'êri. Він vstig zakìnčiti Berklee College of Music. І Hoca in Yogo record Pokey Scho nemaê avtors′kih al′bomìv, to vìdnesti uspìšnij can be asset Yogo vistup on two most prestigious contests džazovih saksofonìstìv-2013 rocì at the Thelonius Monk Jazz Saxophone Competition, de він buv pìvfìnalìstom, Ta vreštì peremogu in 2014 rocì on the North American Saxophone Alliance Competition. I vže svìdčennâ neabiâke CE ŝodo rìvnâ profesìjnoï majsternostì young muzikanta. Sjá einnig Dìn vikonavs′kij amount zdobuvav Zur vistupaûči in vìdomih vsesvìtn′o, džazovih majdančikah such as the Blue Note, Birdland, the Red Sea Jazz Festival, Lincoln Center. Can be in Scho dodati Yogo sjá einnig aktivì volodìnnâ clarinet I flejtoû.

Utìm, vìdvìduvačì concert klubì zmogi ocìniti Mali Sentrum Lachey Gru Dìna Lrc on tenor-saksofonì. Bezposerednê impressions of Yogo vikonannâ perekonuê in fact, Scho čogo bahato vmìê musician, Hoca is staying, mabut′, Poki Scho pošukah in vlasnogo style. Youma pritamannì vdumlivìst′ і lìrizm, vmìnnâ cìnuvati kožnu. Ìzraïl′s′kij saksofonìst volodìê pevnoû palìtroû sposobìv zvukovidobuvannâ dopomagaê urìznomanìtnûvati youma Scho viraznìst′ your solos. Yogo ìmprovìzacìï zdebìl′šogo vìdznačalisâ і melodìjnìstû, before rečì, majže skin viklikali partnerìv shvalennâ once on scenì, nasampered, Allan Garrìsa. Dumaêt′sâ, Scho vistupìv w muzikantami dosvìdčenimi amount, before w zìrkovogo rìvnâ, važlivij CE nabuttâ vikonavs′kogo dosvìdu th scenìčnoï vpevnenostì simply.

Lrc Dìn graê Hoca on tenor saksofonì, ALE kompozicìâh in švidkogo pace for timbre sound th character ìmprovìzacìï ìnstrument Čarlì Parker nagaduê Yogo, and Koli він namagaêt′sâ eksperimentuvati з garmonìêû і rhythm, then come nasampered por. s. Karolak John Coltrane. Cìlkom zrozumìlì orìêntiri on strengthening actions saksofonìsta. Identity spodìvaêmosâ on majbutnû nagodu sposterìgati for rozvitkom young muzikanta. I, to rečì, vistup u rìznih Ta majdančikah rìznih warehouses yak-from opisuvanij € neodmìnnoû zrostannâ skladovoû concert profesìjnoï majsternostì.

Predstavnikom of Ukraine in c′omu mìžnarodnomu skladì buv čudovij pìanìst odessky Oleksìj Pêtuhov, âkij, sorry, є nečastim guest at Kiêvì. Vlasne, I feel the sonorous humming somewhen Yogo vpershe SAMA on one w koncertìv MDA. Pêtuhov € organìzatorom I proektìv w džazovih čislennih Member odes′kimi muzikantami and pìanìst zrìlu th demonstruê Jak bagatogrannu Gru.

Jak I zazvičaj vpevnenìstû strunkìstû ìmprovìzacìj pobudovi th vìdznačalasâ Gras Arkadìâ Ovruc′kogo on kontrabasì âkogo on lâglo podvìjne "navantažennâ" for vìdsutnostì drummer.

Taqiy є nezvičnim deŝo warehouse, youma pevna vlastiva test svoêrìdnìst′, oskìl′ki solìstìv-yak golosi voice of Allan Garrìsa, so I vote saxophone Dìna Lrc-sounded samotnìše, Ta vodnočas, viraznìše proniklivìše, vreštì lìričnìše, Scho naperedodnì sacred, mabut′, Bulo cìlkom dorečno.

Author Alexander Yudin
Photo Alexander Zubko

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International Jazz season ticket-history of the continuation

23.10.2015

International Jazz season ticket-history of the continuation

October 11 concert at the Kiev Conservatory DAM opened his anniversary season
International Jazz season ticket is an integral page in jazz Chronicles of Ukraine. At me in hands a concert program from October 23, 2005 year MDA: Gregory Porter (United States). The name Gregory Porter then still little-something said. Of course, it was presented as a rising star, that it was possible to perceive and as advertising hyperbole. But the impression was really terrific. For many listeners it proved first acquaintance with authentic Jazz vocals. It was the voice of the New York jazz scene.
In March 2012 Gregory Porter again appeared on the stage of the Kyiv Conservatory already souped winner of a Grammy Award for album of the year 2012, in a Word, it was the time of the outbreak of a new star. Now it shines in full force, but at a distance, since to bring Porter to Ukraine is too expensive an undertaking that under the force of the Festival with a lot of budget. But we (i.e. those who were at his concerts) managed to see (and hear) it near.

International Jazz Season Ticket
It's the only one, although perhaps the most vivid example of the discoveries that brought the MDA.
In the year 2005 there were no Festival Jazz In Kiev nor Alfa Jazz Fest. Not everyone can reach the Jazz KOKTEBEL. In a Word, the MDA was truly a window to the world of jazz from the very New York.
An enumeration of all the foreign jazz musicians, who visited the scene of the Kiev Conservatory since over the past years, it would take too much space, since it's a few dozen names. Archive a good Festival. But unlike the Festival all this impressive gallery concerts participants MDA-musical partners per person.

In the concerts of MDA at different times participated in quite a few people, but the main role belongs to his producer Arkady Ovruckomu, more precisely, "playing producer", as he is a participant of all concerts of MDA.

The DAM of the Kiev Conservatory opened his anniversary season
Arkady (or, for the sake of brevity, in the English version-ARC) Ovrutskyi is one of the few Ukrainian jazz musicians, who have managed to gain a foothold in the New York jazz scene.
For ten years, MDA has presented a whole panorama of overseas musicians: Gregory Porter is vocalists Kevin Mèhogeni, Mavis Gallant Poole, Sharon Clark, Benny Benac, Alan Harris; instrumentalists Melvin Vines, Gerald Hayes, Warren Byrd, Vilém Cfm, Jason Brown, Brandon Lewis, Wayne Èskoffri.
New York is the Mecca of jazz. There's jazz musicians cross paths from different countries of the world, jazzy Big Apple Jazz includes many diasporas. The fate of whittling Arcadia Ovruckogo with multiple, allowing MDA introduced us to the representatives, for example, Brazilian Jazz music, such as the Duduk da Fonseca, Helio Alves, Maušu, Admet Filo Machado, as well as Israeli: Roy Assaf, Assaf Oner, Roni Ben-Hur, Shahar Èlnatan.
Finally, the MDA presented a number of interesting European jazz musicians from the Netherlands, Norway, Austria-Michiel Bortslap, Saskia Larue, Bug Vessel′toft, Dina DeRouz.
The list goes on.

Dennis Adu

During these ten years, the DAM has served as a kind of jazz bridge between overseas jazz community and the jazz world of Ukraine in the sense that it became a permanent platform for professional communication and partnership of foreign and Ukrainian musicians.
And 11 October, on the opening day of the Jubilee season of MDA, Ark Ovrutski brought to an already familiar scene of the Kiev Conservatory Austrian-Ukrainian command: Dina DeRouz (piano, vocals), Klemens Marktl (drums), Dmitry Alexandrov (tenor sax), Dennis ADU (trumpet).
During the evening there was a number of jazz standards-from the classic "How Deep is the Ocean up to the less well-known You Stepped Out of a Dream, Detour Ahead and already more modern, as Wayne's composition We Tom Thumb-as well as original compositions Arcadia Ovruckogo from the album 33 44.
For Dina DeRouz participate in the MDA-this is the second visit to our country. The first acquaintance with Kyiv Jazz audience occurred in December 2012 year. She describes herself as a representative of the "post-neobop mainstream." Pianist, owing to disease of the hands became the vocalist, teacher Jazz College in Graz, Dina DeRouz-musician with extensive experience and conceptual thinking. She knows how to perfectly fulfill the tempo stuff, but it seems now it closer songs balladnogo nature. At least, her voice sounds pathetically.

Klemens Marktl-new name for Kiev jazz fans. The drums he moved after classic

Dina DeRouz (piano, vocals)
piano. To its credit study and work in Amsterdam, New York, a partnership with many well-known musicians including Ralph Peterson, Seamus Blake, Rick Margitca, Kenny Werner and others. The first half of the concert, Marktl mainly confidently kept the rhythm, staying at first plan, but in the final compositions Ovruckogo New Orlean, at the closing of the reef he unexpectedly sold and played martial solos, which caused the admiration of not only the public but also among its partners. Anyway, Denis Hell specifically came up and shook his hand as a sign of respect. In the future, Marktl played an interesting and, as it seemed to me, even performed a leadership function, because it is its unexpected shifts of rhythm game set the tone of the quintet.
The duo of Dmitry Alexandrov and Denis Hell within the quintet also has graced concert, especially where they are treated as dialogičeski in the same play New Orlean. A solo by Dennis in the composition We Tom Thumb-inspired, inventive, Cunny-was one of the peak moments of the concert.

Ark ovrutski in the role of the hero of the mostly handing out passing partners, defining the sequence of solirovaniâ, limited to short improvisations and his best, most uninhibited solo played in the composition.
MDA (it seems better to repeat the full name-International Jazz season ticket) is already undoubtedly history. But the story with the sequel. Let it lasts as long as possible!

Alexander Yudin
Photo By Alexander Zubko

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From swing to Funk

From swing to Funk

Once the clarinet was hardly the first instrument in jazz. On recordings of the "hot five" and "Hot seven" Louis Armstrong near his pipe invariably heard clarinet Johnny Doddsa. The two most prominent musician New Orleans jazz trumpeter Louis Armstrong and clarinetist Sidney Bechet. Klarnetistami were also the leaders of the most famous orchestras of the era of swing-Artie Shaw, Woody Herman, Jimmy Dorsey, and finally, the "King of swing" Benny Goodman.

9 final concert international jazz season passes available.

International Jazz season ticket-concert cycle, representing foreign jazz musicians, mostly rising stars of jazz-completed his ninth season with a concert of the Quartet by Felix Peikeli (Felix Peikli), a young Norwegian clarinetist, who has already managed to establish itself in the American jazz scene.

Once the clarinet was hardly the first instrument in jazz. On recordings of the "hot five" and "Hot seven" Louis Armstrong near his pipe invariably heard clarinet Johnny Doddsa. The two most prominent musician New Orleans jazz trumpeter Louis Armstrong and clarinetist Sidney Bechet. Klarnetistami were also the leaders of the most famous orchestras of the era of swing-Artie Shaw, Woody Herman, Jimmy Dorsey, and finally, the "King of swing" Benny Goodman. However, since the era of bi-BOP, clarinet almost completely disappears from the jazz compositions, giving way to SAX.

Felix Peikeli got hooked on clarinet, after 8 years of age he gave the plaque to Benny Goodman, and retained a passion for the instrument despite the fact that the clarinet almost gone from contemporary jazz. Names of famous clarinetists can be counted on the fingers, and almost all of them-Eddie Daniels, Don Byron also played the saxophone.

Therefore, the mere fact of devotion to his instrument with which Felix Peikeli is seeking its place in modern jazz, indicative of a serious ambitions. And nebezosnovatel′nyh, as evidenced by his record. In addition to an impressive number of victories at various competitions, evokes respect listing musicians, with whom he had to play: Danilo Perez, John Patitucci, Eddie Gomez, Wayne shorter, Joe Lovano. Finally, the first solo album recorded by them involving Marcus Miller. By itself, a combination of clarinet and bass guitar in one of the most famous representatives of styles of fusion, Funk, rhythm-and-blues already intriguing.

 Felix Peikeli. Here and further ajnj Alexander Zubko

Finally, this is evidenced by the music of Felix, which could be heard in the Concert Hall of the Kiev Conservatory 2 July. Season closing concert of MDA turned out to be literally one of the best.

However, here the credit equally ambitious Norwegian partners, which took the stage Efim Chupahin (piano), Ark Ovrutski (bass), Jason Brown (drums).

Musicians played some jazz standards (After you've Gone, Sweet Georgia Brown, Summertime) and one original composition Arcadia Ovruckogo and Felix Peikeli.

 Efim Chupahin

Virtuosity, skill svingovat′-indispensable though traditional clarinetist quality, without which one cannot count on success, and the game Félix justifies those expectations. Significantly, his clarinet can be heard not only traditionally. As an example, in Arcadia Ovruckogo New Orleans, filled with funky. Clarinet, sounding fankovo, is, perhaps, the news.

Another his trump Felix demonstrated in solo performance, playing simultaneously Summertime two-line melody and a bass-all at the same lonely clarinet. (A similar technique likes to use the tenor saxophonist Joshua Redman)

Words of merit partners Felix-duty not a compliment. I would say that their game-as a solo and ensemble-leave no impression.

Efim chupahin is the leader of the Kharkiv Acoustic Quartet (which is literally on the eve of the successfully performed at Lviv Alfa Jazz Fest), one of the best jazz pianists in the country. In his game combines different styles and influences, but perhaps the main appealing feature is the maximum commitment. None of its inclusions, no improvisation is never pass. He is always fully invested in every solo, playing on high harmonic and rhythmic ingenuity.

Arcadia Ovruckogo game, as usual, combining the role of organizer of MDA and permanent party, as usual, was a rhythmic core ensemble. In turn, solo, he was limited to short, but wont gracefully built replicas (in addition to the expanded solo in the author's compositions).

The emergence of American drummer Jason Brown (Jason Brown) under IBA concerts is not the first and, for me personally, not less interesting and expected than the soloist Quartet. Brown's game simply attracts attention to itself, so it has to be shared between a soloist and drummer. I would say that in his performance I have not heard a single featureless phrases. Impresses even the manner of his carpal games, rapid, powerful, when nearly stationary housing.

Jason Brown is on the New York jazz scene for more than a decade. His track record is impressive enough. Suffice it to say that he is a permanent member of the trio, one of the brightest stars of modern jazz organist Joey DeFrančesko. While Brown has not yet recorded any solo albums. It seems that here as the case when the level of musician is far superior to his ambition.

 Jason Brown (drums) and Ark Ovrutski (bass)

IBA resumed its old tradition of master classes with touring musicians for students Glièrovskogo Institute and, of course, everyone. In short, this is one of the most business in the best sense and informative master classes, which I have seen and on the role of drummer ensemble (according to Brown, it was the drummer leads the ensemble), and with respect, so to speak, musicality, internal structure of its games.

Again, it was one of the best concerts of MDA in this season and as soon as the next Jubilee, 10th, then it can be considered a promising rehearsal. 

Ukrainskaya Pravda

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It happens in jazz

It happens in jazz

This format brings the concert to jam session. Reigns individual improvisation and spontaneous interaction. With the permission of the musician we present one track from this album, performed by quartets Shahar Èlnatana.

International Jazz season ticket, one of the most "long-lived" Jazz cycles assure domestic jazz fans with foreign performers, nearing its tenth anniversary.

From 2005 onwards, when the word first appeared in posters on the façade of the Kiev Conservatory, IBA has served as a kind of window with views of the New York jazz scene.

During these ten years, the organizer of the project of Kyiv and New York bassist Ark Ovrutski regularly continued to represent jazz lovers in Kyiv and other cities of the country stars, rising stars and just good musicians whose paths crossed at venues of the jazz Mecca.

Ark Ovrutski

Regular concert international jazz season ticket last Sunday at the Caribbean Club drew though not so many viewers, was remarkable in several respects.

First of all, this acquaintance with two new performers: on the stage of the club together with Arkady Ovruckim left Israeli guitarist Èlnatan Shahar (Shachar Elnatan) and New York drummer Brandon Lewis (Brandon Lewis).

Brandon Lewis

22-year-old Shahar Èlnatan could not say where spends more time in New York or in Israel-in short, lives on two homes. In other words, he is one of those representatives of the Israeli jazz diaspora in New York who do not cut their ties with the motherland, and this is true not only in space but also in creative terms, because its own project and original music associated with Jewish musical traditions.

However, the Kiev concert entirely consisted of jazz standards.

Shahar Èlnatan as guest presenter decided to dedicate the concert entirely to your loved ones, with their selection standards-as so often in jazz is defined, it appears spontaneously, when prompted, moods and feelings of harmony. Musicians began with BOP tempo compositions of Wayne, We continued to swing, a song by Cole Porter Moonbeams, then moved on to bosanove, then again returned to swing and bopu inadvertently committing a kind of thematic circle.

And, finally, completed the ballad Angel Eyes.

This format brings the concert to jam session. Reigns individual improvisation and spontaneous interaction.

Shahar Èlnatan

In the game Èlnatana at the concert was attended by two style, even to use two voices as possible, and was hence. On the one hand, the traditional sound of a jazz guitar, and in this case his improvisation resembled Joe pass. On the other hand, less familiar timbre, close to sounding harmonium and partly resembling guitar Pat Metini.

Incidentally, its authentic music Shahar characterizes as close to world music. Now he is preparing his first solo disc, and far in his asset-participation in joint collective project amongst different groups of young Israeli musicians, which was the initiator and organizer of an outstanding representative of the Israeli jazz Avishai Cohen.

(With the permission of the musician we present one track from this album, performed by quartets Shahar Èlnatana.)

Strong impression left game drummer Brandon Lewis. His style of play can be called built. Although the trio-jazz guitar, bass, drums-to the forefront as a solo instrument goes guitar. But the loudest instrument in this company-drums.

Thanks to a powerful game and inexhaustible ingenuity of Brandon Lewis turned out to be the real hero of the evening. His solos sound in each song, and the concert began with his long solo improvisations, which happens infrequently. Well, perhaps the most dynamic moment in concert were repeated dialogues, exchanges between replicas reel of Lewis and guitar Shahar Èlnatana.

You can add that shortly before the concert, Lewis gave a master class at the Institute Event, which happened to be present, but judging from the reviews, it was interesting, and this no doubt.

 

As for the game, the Ovruckogo Arcadia, to my taste, it was one of the best concerts of Arcadia on my memory, despite the fact that, as a musician already after the speech, he gave the initiative Šaharu Èlnatanu and acted as sajdmena. Perhaps, in this case, t. (e). in emancipation, and another narrow company where solo a lot and often, in each song.

Anyway, Arkady played some wonderful solos, their inherent sense of harmony, clear phrasing and is perfectly great melodic accents.

However, the finale of the evening was yet to come. Concert in the format close to the jam session ended the present jam in Club "44". And, no matter how wonderful played on the concert scene, Brandon Lewis, but his best solos in this evening he played exactly on the jam. It happens in jazz.

Ukrainskaya Pravda

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There's always tomorrow

There's always tomorrow

"There's always tomorrow": American jazz saxophonist Wayne Èskofri in Kiev

Any arrival of American jazz musicians-signal for jazz fans.

Jazzman from New York is a letter of excuse to high expectations. And the characteristic "rising star" in this case, said if and not about big talent, big labor, hard way of formation and search your own person in the highly competitive world of music Mecca of modern jazz.

Acquaintance with Wayne Èskoffri (Wayne Escoffery), tenor-saxophonist from New York, and fully justifies this feature, and the highest expectations.

Two concert-March 15 at the culture and education centre "master Klass" and 17 March in Carribean Club in two different formulations-an excellent opportunity to gain an impression of the creative range of this artist from the so-called generation "young lions" (However, it is far from complete, judging by the fresh album of Wayne, which were available in Kiev and in which he plays a completely different music).

 Concert of rizol-Quartet Wayne Èskoffri in "master class". Here and next photo by Aleksei Karpovich

However, Èskoffri is a musician with an already long record and established reputation. To its credit, nine rather different-from the mainstream to the electronic jazz-albums, participated in many projects of musicians as well as the older generation.

Concert in "master class," took place in a series of joint projects of the international jazz subscription and production centre "Jazz in Kiev" rising stars of jazz. " Together with Wayne Èskoffri Kiev took the stage musicians Stanislav Chumakov (piano) and Ivan Rubančuk (drums), as well as playing Manager of the IBA Ark Ovrutski (bass).

Response to Èskoffri immediately conquers its sound is powerful, deep, rich shades, inducing recall Sonny Rollinse, John Coltrane, Joe Henderson. Sometimes, where appropriate, such as in the ballad, saxophonist resorted to vibratory zvukoizvlečeniû in the manner of Coleman Hawkins.

If we talk about the music of the American saxophonist, it seems to me that dominates the thought. The impression that Èskoffri was not seeking self-expression, to emotional fullness and zarazitel′nosti, and increasingly confronts a technical and harmonic tasks.

In this sense, it leaves an impression of a very solid musician in the sense of deep concentration and alien to any external emotion. His improvisation-rather well constructed statements than uncontrolled feelings.

In the tempo of things he Virtuosi, but restrained. In the ballads-elegant, thoughtful without sentimentality and romanticism. Èskoffri loves long introductory solo without accompaniment, in which his ability to consistently deploy musical thought and build harmonious saying manifested with particular brilliance.

The concert consisted partly of compositions by well-known jazz musicians (Joe Henderson, Duke Ellington, Barry Harris), partly because of copyright stuff Arcadia Ovruckogo and Wayne Èskoffri. In General, all within the mainstream with separate stints in funk and soul jazz.

Although the main intrigue of the evening was the performance of "rising star", playing his fewest partners can be called background. As usual, rich in rhythms and melody were improvisation Ovruckogo Arcadia, especially in his original compositions. A couple of excellent solo in Stas Chumakov. Particularly worth mentioning is the game drums Ivan Rubančuka, which previously had to hear, is resilient, energetic, with appropriate exacerbations, responsive partners.

Between two concerts took place another meeting with the main actor, March 17 before the second concert in our town-within the walls of the Kyiv Institute of music. Glier, where Wayne Èskoffri gave a master class. I must say that the musician confirmed the prevailing impression of him in his game at a concert.

Of the many music master classes which had to see this distinguished atmosphere of specificity and efficiency. An American in their responses to the questions were extremely informative and concise, without any worries of them produced the impression or, say, creating a climate of easy communication. The strategy of maximum utility in unit time.

 Master class Èskoffri Event at the Institute of Wayne

Èskoffri easily transforms from a purely special things, such as how to build scale, to biographical-experience of finding their place in the jazz world of New York. The main message-oriented work, improvement and perseverance. As a musician myself quite aptly sums up the total of their experience of becoming a musician: the important thing to remember is that there is always tomorrow.

A second concert in the walls of the Carribean Club very different from the first one, that was unexpected and, at the same time, it is logical, because Wayne Èskoffri played as a soloist with the Kiev big band under the baton of the famous Kiev trumpeter Dennis Adu. Big Bend is a maximum sound, maximum number of partners who are as a whole. It is therefore surprising that such dialogue is stoking a musician on maximum openness and dedication.

master class Èskoffri Event at the Institute of Wayne

And if at first-the first two compositions of authorship Herbie Hancock-Èskoffri played in his usual masterful way-focused then on in his major breakthrough performance. It added the emotionality, ingenuity and even in the range of expressive means.

Tenor saxophone Èskoffri can sound many votes with a variety of shades ranging from deep velvety tones in the bottoms-up to crazy squeal in the upper registers, and from whisper and rattle-to sound whether hunting or alpine horns. Interestingly, this change was precisely when the Orchestra moved to the execution of the author's compositions of our musicians Vladimir Shabaltas, Dmitry Alexandrov and Denis hell.

 Wayne's concert Èskoffri and big band p/u Denisa Hell in Sarribean Club

Perhaps the point here is that these songs were new to Americans. Play had to be virtually with a sheet, and it stimulates maximum spontaneity. Finally, don't often have to play with the big band-even a rising star.

Èskoffri has this evening-three masterpieces, three completely solo peaks tardy to forget about everything and, on the contrary, make an unforgettable meeting with the jazz.

In recent years, at different venues in our country you could hear several remarkable and even outstanding tenor saxophonists of jazz from his homeland-Charles Lloyd, Joshua Redmana, Marcus Strickland. Statement by Wayne Èskoffri this evening can be safely put into this series of meetings with remarkable masters of this instrument.

Not surprisingly, and for big band is a musical partnership and communication was no less inspiring, as evidenced both by the enthusiastic assessment of Dennis Adu, who also performs the role of emcee this evening and wonderful game the big band, despite some situational replacing several musicians playing as a single organism.

It remains to add that and two evenings are insufficient to be fully familiar with the music of Wayne Èskoffri, as can be seen, at least after listening to his latest album the year 2014 The Wayne Escoffery Quintet Live at Firehouse 12, on which he performs music and quite a different style and mood, unexpected even for those who heard it in Kiev. I want to think that this cooperation also have tomorrow.

24.03.2015
Alexander Yudin
Photo Of Alexey Karpovich

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Wayne Escoffery in Odessa 3/14/2015 (Photographer Alexander Voropayev)

Wayne Escoffery in Odessa 3/14/2015 (Photographer Alexander Voropayev)

Jazz series Rising Stars, the concert of the famous American saxophonist Wayne Eskofferi (Wayne Escoffery).

Wayne Escoffery is an American saxophonist of English origin, one of the prominent representatives of the New York jazz scene. Over the years he has performed and recorded with such artists as Carl Allen, Eric Reed, Ben Riley, Ron Carter, Rufus Reid, Bill Charlap, Jimmy Cobb, Eddie Henderson and Tom Related, played in the composition of the Mingus Big Band/Orchestra/Dynasty.

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Jazz critics say Wayne Eskofferi a typical representative of the generation of "young lions" ("Young Lions") is born in 1960-80-ies of improvisers, gravitating towards straight-ahead acoustic jazz. Among the jazz giants, whose work influenced the formation of their own performing style Eskofferi, referred to as John Coltrane, Wayne Shorter, Dexter Gordon, Joe Henderson, and Sonny Rollins.

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The discography of the musician many records as sajdmena, as well as six solo albums and two Duet recorded with his wife — vocalist Carolyn Leonhart.

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According to the results of an annual survey of DownBeat magazine critics (United States), Eskofferi won the Rising Star nomination for best tenor saxophonist of the year 2014.

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Odessa Wayne Eskofferi made in the composition of the Ukrainian-American Quartet, which consists of Stas Chumakov (piano), Ark Ovrutski (bass), Ivan Rubančuk (drums).

The concert took place with the support of the United States Embassy in Ukraine, international jazz season ticket, the production centre "Jazz in Kiev, First from FM radio1.

© Copyright 2014, Alexander Voropayev.

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